The purpose of this website is to serve as a place where information about the artist Pieter Bruegel can be gathered, shared, and debated among scholars. It serves as a companion site to janbrueghel.net, and is meant to provide ways of furthering our understanding of how the Brueg(h)el family produced a complex body of interconnected work. The site also serves as a general resource for any visitor who is interested in the artist's works. Visitors are encouraged to explore between the two websites to investigate the relationship between the two Brueg(h)els and their works.

We have gathered and compiled this record of all known works attributed to Pieter Bruegel from various published monographs on the artist. Please note that our site is a work constantly in progress. New material is added frequently. Scholars who would like to contribute their own opinions to our discussion pages, or to use the "My Research" functions that cross both websites, should contact us to obtain a login and password.

The third issue of setup4.org, the online-magazine of the Research Association Artist´s Publications is devoted to the special phenomena of the artist’s book. To address this artistic medium in all its diversity, we have undertaken to offer a range different perspectives. Many of the text contributions are lectures given at a conference and a symposium in New York City and Berlin, respectively. This edition of setup4 thus not only represents a documentation of the two events, but is also the result of an international collaboration: between Anne Thurmann-Jajes of the Centre for Artists’ Publications at the Weserburg, and Tony White of the Metropolitan Museum of Art – the book’s two editors.

Content (English and German):

Anne Thurmann-Jajes
The Artist Book as a ‘Performative’ Act

Annette Gilbert
The Gomringer Variant

Tony White
Furthering the Critical Dialogue

Russet Lederman
In the Shadow of Ed Ruscha

Ian McDermott
That Was Then, This Is Now

Anne Thurmann-Jajes
Ed Ruscha and his Significance for the Developement of the Artist´s Book

Tony White
BLUEPRINT: Collecting artists’ books?

Eva Linhart
Künstlerbücher im Museum Angewandte Kunst

Anne Thurmann-Jajes
Über das Sammeln

Béatrice Hernad
Die Sammlung der Maler- und Künstlerbücher der Bayerischen
Staatsbibliothek

Wolfgang Schlott
Mediale Kollisionen

Peter Sämann
Artists´ Books and Africa

Katrin von Maltzahn
Artists as Independent Publishers

Peter Sämann
Boekie Woekie in Reykjavik

Peter Sämann
Concept and Idea in Art Freiburg

I applied to be a fellow for the DH@CC (Digital Humanities at the Claremont Colleges) summer workshop to learn how my work in digital art was similar to and different from digital humanities. I assumed that the tools would be similar and that their applications would be different. Although this is true in part, the biggest differences are the emphases on re-imagining working with writing and text more than images and creating strategies to integrate visual media into new forms of learning.

In addition to informative speaker presentations by Patty Ahn, Jonathan Alexander, Eric Loyer, and Miriam Posner, the group participated in workshops (thank you Ashley and Craig!) introducing us to the uses and functions of new platforms including Scalar, Omeka, Tableau and building story maps in Esri. Each of these software provides tools that enhance the production of knowledge in specific ways: Tableau=data visualization; Scaler=latest and greatest for multi media websites; Omeka=cataloging and curating objects; Esri story maps=mapping. These speakers and tools might be of interest and value to many of you in APS.

What is my biggest take away (and challenge) aside from being excited to work with Scalar and Esri in more depth? To find ways to integrate the pedagogy/conversations of DH into my digital art classes. To add another layer of knowledge creation that bridges digital art (or put your discipline here) with digital humanities. It has given me a lot to think about not to mention to “tweet” about!

Nancy Macko
Professor of Art
Scripps College
May, 2016

The website is the result of a seminar at the University of New Mexico, for which students curated s museum show and developed an online exhibition catalog. The project focused on the ways prints and photographs from the 17th to the 19th centuries promoted and manipulated identity as constructed by artist and sitter. Looking at the physical nature and the use of printed portraits, this exhibition and website reflects on how images constructed public and private personas.

Conventionally, portraits reflect the likeness of a person. This exhibition challenges the traditional role of portraiture and the parameters by which it is defined. The selection of images exhibited in the gallery proposes the understanding of portraiture as a reflection of identity, which can be attributed to people, monuments, and regions.

Seminar students are the exclusive authors of this website. Susanne Anderson-Riedel edited the entries as well as supported the student's curatorial efforts.

During the mid-nineteenth century, etching experienced a widespread revival among artists working in France. Although the medium had been in use for centuries, interest in it had waned by 1800, alongside the invention of lithography and the developing popularity of reproductive engraving. By the 1860s, however, etching was embraced as a reaction against the negative associations of these media with industry and mass production.